Platoon will release a new soundtrack album for the Apple TV+ original series Silo. The album features selections of the original music from the show’s second season composed by Atli Örvarsson (The Hitman’s Bodyguard, Vantage Point, Hansel & Gretel: Witch Hunters, Defending Jacob, The Edge of Seventeen, Rams, The Eagle) who recently received his first Emmy Award nomination and won the BAFTA TV Award for his work on the first season. The soundtrack will be released digitally this Friday, November 15. Listen to to a first track (Save My Silo) from the composer’s score after the jump. The label has previously released an album featuring the composer’s score from Season 1 last year. Silo is created by Graham Yost based on Hugh Howey’s s bestselling trilogy of dystopian novels and stars Rebecca Ferguson, Tim Robbins, Common, Steve Zahn, Harriet Walter, Avi Nash, Chinaza Uche, Alexandria Riley, Shane McRae, Clare Perkins, Remmie Milner, Billy Postlethwaite, Caitlin Zoz, Rick Gomez, Tanya Moodie and Iain Glen. Season 2 of the drama, which tells the story of the last ten thousand people on earth, will premiere on November 15 exclusively on Apple TV+.
Here’s the album track list:
1. Save My Silo
2. Sea of Skulls
3. Silo 17
4. Solo
5. On the Inside
6. Mirror Mirror
7. Ambush
8. Something to Believe In
9. Solved the Code
10. Ice Cream
11. Underwater
12. I Get It
13. Rebels Caught
14. Factor You In
15. Wish Me Luck
16. Deep Dive
17. Turbine On
18. What Did You Say to Bernard
19. Opening Silo 18
20. Burn to Death
“Everytime you start a new project, it’s a leap into the unknown,” shares Örvarsson. “So when I was first approached about the show I was incredibly intrigued by it. I’d been kind of secretly wishing for a sci-fi project for a long time. Just hearing about the story and hearing about the script and starting to see the images, my mind just went to this idea of isolation, claustrophobia, and obviously big brother watching you. It’s like the walls are closing in on you, but then you need to portray the inner lives of a very character driven personal drama.” Örvarsson first started with programming “weird” static drones on a synthesizer, and followed his intuition from there, leading to piano and other sounds. “A score for something like ‘SILO’ is worldbuilding,” he says, “it’s about building the sonic musical world of what that place is like, and what that life is like. It just kind of grew organically and found its own life somehow. It was just a journey of following where the breadcrumbs took me.”
Those breadcrumbs would lead Örvarsson to the idea of recording parts of the soundtrack within an actual decommissioned silo located in one of the most isolated parts of Iceland. “I’d been fascinated by the idea of how space is almost just as important to the music as the instrumentation or the tune, because it just has some sort of magic and vibe built into it. We came away with sounds that you simply can’t recreate in the studio or in a normal recording hall. Its got its own identity that you can only get by going on these crazy adventures like going to a silo in the Westfjords.”
